Obsolete Capitalism Sound System
Chaos Sive Natura
Afecsana Blues
In the wake of writers like Erik Davis, Kodwo Eshun, Steve Goodman, McKenzie Wark, Louis Chude-Sokei e Achim Szepanski, Jamaican bass culture has become the great catalyzer of the music experimentation since ‘70s, through beats and remixes practices jammed with western urban black electronic experimentation. The polyrhythmic and polymetric vibratory of the afro-digital psychedelia subverts the reproducing measure: from King Tubby to Kool Herc, from Dillinja to Burial, the scheme of repetition with no variation is no longer present: milieus and rhythms re-appropriate their centrifugal force and take off to an imaginary Atlantic, creating an analogical and digital diaspora full of imaginative, utopian lines, fugues, back and forth returns. In fact “rhythm is never on the same plane as that which has rhythm” being it New Orleans with its primordial jazz or Monk’s New York recalled by D’Andrea, Dillinja’s London or Russolo’s Milan. Deleuze will say: “…chang[ing] milieus, taking them as you find them: such is rhythm.” Landing, bifurcating, jumping as it happens with Underground Resistance’s afro-germanic sound of Detroit, Zulu Nation’s suburban Autobahn from New York, Kool Herc’s phantasmatic Jamaican vibes, Burial and Valve Sound System’s London, as well as D’Andrea’s rhythmic echoes of Monk’s New Yorker aphorisms. Everything vibrates “and all three at once: forces of chaos, terrestrial forces, cosmic forces: all of these confront each other and converge in the territorial refrain.” It is from the Chaos that Milieus emerge because “It is the difference that is rhythmic, not the repetition”.
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